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Not Impertinent Designs
from 1615

A Coloring Book

Walter Gidde
Helen Hough (editor)

James G. Collins
& Associates
2020

Not Impertinent Designs from 1615: A Coloring Book
Walter Gidde. Helen Hough (Editor)

James G. Collins and Associates. 2020.

Derived from Walter Gidde. A Booke of Sundry Draughtes: Principaly Serving for Glasiers: and
Not Impertinent for Plasterers, and Gardiners: Besides Sundry Other Professions. Whereunto is
Annexed, The Manner how to Anniel in Glas: and Also the True Forme of the Fornace, and the
Secretes Thereof London: Printed in Shoolane, at the signe of the Faulcon by Walter Dight.

1615.

This volume is provided online via the Internet Archive (https://archive.org/) for individual
personal, not for profit use; Creative Commons License: Attribution-NonCommercial-NoDerivs
4.0 lnternational© 0®©

Dedication: Lorrie Hegstad, Martha Mann, & significant people with names beginning with J.

If you believe that this publication has some value to you, please consider donating what you
think is a reasonable sum to some worthy purpose; even a tiny amount may make a difference
somewhere. Some donations may also be tax deductible.

I suggest the following organizations:

The Antique Pattern Library project is an excellent opportunity to support access to publications
similar to this one. This service provides scans of craft pattern publications that are in the public
domain. Many are edited for modem craftworkers and their technologies,
http://www.antiquepatternlibrary.org/index.htm

Good Shepard Services in New York City provides supports to vulnerable children and families.
As an organization that grew out of the mission of a religious order, it seems an appropriate
reflection of the various uses of needlework books during the Renaissance,
https://goodshepherds.org/

Donations to your local library or a community college scholarship fund are valuable local
investments.

Consider also the Internet Archive (Archive.org) as it helps make the Early Modern Embroidery
and Lace Pattern Books resources available.

I would be surprised if any organization returns even a nominal donation. -HH

Not Impertinent Designs
from 1615

A Coloring Book

Walter Gidde
Helen Hough (editor)

James G. Collins
& Associates
2020

2020 Introduction

Walter Gidde created a wonderful book in 1615, A Booke of Sundry Draughtes: Principaly
Serving for Glasiers: and Not Impertinent for Plasterers, and Gardiners: Besides Sundry Other
Professions. Whereunto is Annexed, The Manner how to Anniel in Glas: and Also the True
Forme of the Fornace, and the Secretes Thereof
He focuses on the needs of window designers, yet the beautiful patterns are,
indeed, “not impertinent” for artists and workers of many other crafts.

This version of his book is geared toward people who are happy to explore color and spaces using
colored pencils or crayons. However, it can also inspire those whose tools are, of course - glass;
or paint, thread (embroidery, crochet, knitting), fabric (piecework), sheets of plastic, wood or metal
(carving, inlays, engraving, incising, parquet work), tiling, concrete (for example, ornamental
walkways), and more.

This edition has the all the patterns from 1615 and the volumes created in the 1800s. The designs
have been straightened so they may be more easily copied for other uses. The pattern index has
notes at each thumbnail indicating where that image can be found in either of the editions from the
1800s. These notes are an L or an S followed by a number. The L refers to the 1898 reprint and
the page. The S refers to the 1848 Shaw edition and page.

Also included, following the patterns, is Gidde’s glasswork advice from the 1600s; much of it
transcribed with modern English spelling and punctuation and occasional definitions. This advice
is included for historical purposes only. His techniques and recipes do not comply with current
health and safety advice, may not be efficient or cost effective, and could be hazardous.

Gidde has provided inspiration for 400 years. The original book is rare but fortunately for us,
“modem” reprints were published in 1848 and 1898. German and French editions were developed
in the late 1800s. Additional 2P‘ century scans and reprints are also available.

1615. London. Printed in Shoolane, at the signe of the Faulcon hy
Walter Dight, 1615-1616.

Early English Books Online: 11695 (Consult your local library);

British Library [print]

1848. Shaw, Henry, and Walter Gidde. London: Pickering.

Harvard University:

https ://books .google.com/books ?id=6_MUAAAAY AAJ

University of Michigan:

https://archive.org/details/abookesundrydraOOgiddgoog

New York Public Library

https ://babel.hathitmst.org/cgi/pt?id=nyp.33433078680455

1898. Leadenhall Press: London, 1898.

University of California:

https://archive.org/details/bookeofsundrydraOOgiddiala

University of Minnesota:

https ://babel .hathitrust .org/c gi/pt?id=umn.31951001594728i

DESIGN INDEX

1 [Ll, SI]

9 [19, S9]

2 [L2, S2] 3 [L3, S4] 4 L4, S4]

10[L10, SIO] 11 [Lll] 12 [S12]

13 [ 112 , S12]

14 [L13, S13]

15 [L14, S14]

16 [L15, S15]

17 [L16, S16]

18 [L17, S17]

19 [L18, S18]

20 [L19, S19]

21 [L20, S20]

22 [L21, S21]

23 [L22, S22]

24 [L23, S23]

29 [S26]

30 [L27, S27]

34 [L31, S31]

37 [L34, S34]

38 [L35, S35]

31 [L28, S28] 32 [L29, S29]

35 [L32, S32]

36 [L33, S33]

39[L36, S36]

40 [L37, S37]

41 [L37, S37]

42 [L38, S38]

43 [L39, S39]

44 [L41*]

45 [S41]

46 [L42, S42]

50 [L45, S45]

53 [S47]

51 [L46, S46]

52 [L47]

55 [S48]

56 [L49, S49]

61 [L54, S54] 62 [L55, S55] 63 [L56, S56] 64 [L57, S57]

65 [L58, S58] 66 [L59, S59] 67 [L60, S60] 68 [L61, S61]

69 [L62, S62] 70 [L63, S63] 71 [L64, S66] 72 [L65, S65]

73 [L66, S64] 74 [L67, S67] 75 [L68, S68] 76 [L69, S69]

77 [L70, S70]

78 [L71, S71]

79 [L72, S72]

80 [L73, S73]

81 [L74, S74] 82 [L75, S75]

85 [L78, S78] 86 [L79, S79]

89 [L82, S82] 90 [L83, S83]

83 [L76, S76] 84 [L77, S77]

MWIi

Mils

87 [L80, S80] 88 [L81, S81]

iiSs«

1 ^

91 [L84, S84]

92 [L85, S85]

93 [L86, S86] 94 [L87]

97 [L89, S90]

98 [L90, S91]

101 [L93, S94]

102 [L94, S95]

95 [L87, S88]

99 [L91, S92]

96 [L88, S89]

100 [L92, S93]

103 [L95, S96]

104 [L96, S97]

107 [L99, SlOO]

108 [LlOO, SlOl]

109 [LlOl, S102]

110 [L102, S103]

111 [L103, S104]

112 [S105]

113 [S106]

114 [S107]

115 [S108]

116 [S109]

p HERE m

BEGINNETH

The firft part of
fc^uare draughces

Fonnra vppon dirc^, and coUat-
cerall lines: which fidy may be
applied to fundrie via.

And now newly publtflicd

BT WALTER

GfDDE. m

Not Impertinent Designs

wmeme

BB^

MMh

iii

Not Impertinent Designs

iHllli

MNNW

iUmi

Not Impertinent Designs

MNR

Not Impertinent Designs

100

Not Impertinent Designs

101

Not Impertinent Designs

103

Not Impertinent Designs

105

Not Impertinent Designs

106

Not Impertinent Designs

107

Not Impertinent Designs

108

Not Impertinent Designs

109

Not Impertinent Designs

110

Not Impertinent Designs

111

Not Impertinent Designs

112

Not Impertinent Designs

113

Not Impertinent Designs

114

Not Impertinent Designs

116

Not Impertinent Designs

117

Not Impertinent Designs

118

Not Impertinent Designs

119

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121

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Stanchions

Not Impertinent Designs

1615 Edition Introduction

The Author to the willing practitioners of
glazing and annealing in glass.

the principal beauty, and countenance of Architecture, consists of outward ornament of
lights, so the inward parts are ever opposite to the eyes of the beholder, taking more delight in
the beauty thereof, being cunning wrought, then in any other garnishing within the frame. To
which purpose is set down in this, variety of draughts \ some, ordinary and plain, others, curious
and pleasant, and although, it may seem to those that are expert in glazing, that some are
needless, being so plain and in use not deferring in this sort to be published yet notwithstanding
here I do in friendly courtesy admonish, that it is most needful, giving choice to the builder, both
for price, and draught' of work, which by no understanding can the Glazier so sensibly
demonstrate his craft, as by showing his examples of draught', for by such show, the builders
shall understand, what to make choice of, for whose ease & furtherance only, I have published
this practice of glazing, knowing the expert master is not unfurnished of these usual draughts',
though each workman have not all of them.

And for the further benefit of the practitioner, there is hereunto annexed by diapering^ on each
draught', hitherto be wrought or left, as it shall please the builder, most pleasant to all that are
willing to have the same. Therefore have it not in light regard for the use thereof, will give you
great delight, and worthy to be practiced, as a special ornament to building, and will beautify the
Glaziers works, be they never so expert.

So by observing the order and rules here set down, the master or workman shall not only see a
plain way, to imitate and follow those draughts' in glazing and painting on glass, but the
simplest, and unskilled prentice shall reap full and perfect understanding thereby. Praying the
Almighty to bless your labors in the following the same.

_ Wa. Gedde.

' Draught = pattern, drawn design. ^ decorate (a surface) with a repeating geometric or floral pattern. ^ anneal = heat
(metal or glass) and allow it to cool slowly, in order to remove internal stresses and toughen it. * glaze = fit panes of
glass into (a window or doorframe or similar structure). 5 glazier = a person whose profession is fitting glass into
windows and doors.

Not Impertinent Designs

Text of 1615 edition

^ lift dwneoacmuDg the fi]uare««4udi«khoiigKitbeo5m
X7 to artificers, each one hauifig his owDc tonne and dc-

vife, in-dra wuig of it,fome by devxfion halie drcle, fomc by o*
ther rules: there is h^efore let downc a^more perfe^ add reader
way for any worke in draught, and alfo if neede be, to by the
fquare rule thereby: forccnaincly, glaffc worke of all others, re-
quires mod an ex^iquare, for the dillance,of one haire out of
^uare,wtll defacethe whole worke, and bring it out of all trame.

Thcordermgcf tbejlpart,

o drawe this fquarr. Firft' you muit drawe your hue draught
1 fb long as your worke i equiredi, marking right tberon with
your compalle, three points oi alike dilbnee, next, devideyour
compare larger, tcoiog the one^int on the ^;ure x. & with the
other drawe a quarter circle betwixt 4 * yni v alter, remouc your
compalTe to the figure 5 . and drawe a croiTe drcle ouer betwixt
aud 7 - and whereipever the iofi middle of the croffe appearcth,
nurke the fame with the point of the compare, as you may per*
cciuc in the charader, by the f^re 8 . lafUy, drawe a draught, be*
tv^ txi the figure 1 . and the crofle point by the figure 8 . and thou
Huh finda perfed fquare to conoud thee all thy draughts. As on
the former fide u (hewed. ^

Directions how to make your
Square.

First then concerning the square, which
although it be common to sundry artificers,
each one having its own form and device, in
drawing of it, some by division of half circle,
some by other rules. There is herefore set
down a more perfect and readier way for any
work in draft, and also if need be, to try the
square rule thereby. For certainly, glass work
of all others, require most an exact square, for
the distance, of one hair out of square, will
deface the whole work, and bring it out of all
frame.

The ordering of the square.

To draw this square: First you must draw
your line draft so long as your work requires,
marking right thereon with your compass,
three points of alike distance, next, divide
your compass larger, setting the one on the
figure 2 & with the other draw a quarter circle
between 4 and 5. After, remove your compass
to the figure 3 and draw a cross circle over
between 6 and 7 and wheresoever the just
middle of the cross appears, mark the same
with the point of the compass, as you perceive
the character, by the figure 8. Lastly, draw a
draft, between the figure 1 and the cross point
by the figure 8 and you shall find a perfect
square to conduct you all your drafts. As on

the former side is shown.

Not Impertinent Designs

T O make this moreplaineto the pradila,thelquaredraught
for the mod part paffes on three (everall deviroans, die
on a declining, or collateral! fquare, others, on even fiijuares, and
the third, interlaced with both: This declining devfhon, and fet-
ting this wor ke thereon, muft begin after the forme you percdae
here on his deyifton, and may be extended, in any quantity you
pleafe i the perfed draught or this worke, and how it fhall ftande
in glafFe, you fhall ftnde it in fol: jS. & other draughts alfo agreftr
able to the fame meafure, in flindry other places, as in ft>l: lo. ry.
47. and others.

t is alfo to be vnderftood, that the (hadowing, and darkning,
fet downein ail thofe fteats and draughts, demonftratrs the d>-
apnng, which is for thevfe ofthoie that deftrdto haue their imorke
besmfted with the fame, and the plaine draught > i^ die coD?oy)
asM} CDurfe of the lead, which dyapring, muft only be in gray ,or
blew colour, as is largely fet downe among^ the rules of colour.

The division of measures, in glass
drafts.

To make this more plain to the practitioner,
the square drafts for the most part passes on
three several divisions, the first on a
declining, or collateral square, others on even
square, and the third, interlaced with both.
This declining division , and setting this work
thereon, must begin in the form you perceive
here on its decision, and may be extended in
any quantity you please. The perfect draft of
this work, and how it shall stand in glass, you
shall find it in following 38 & and other drafts
also agreeable to the same measure, in sundry
other places, as in folio 16, 27,47, and others.

It is also to be understood, that the
shadowing, and darkening, set down in all
those frets and drafts, demonstrates diapering,
which is for the use of those that desire to
have their work beautified with the same, and
the plane drafts, is the convoy, and course of
the lead, which diapering, must only be in
gray, or blue color, as is largely set down
among the rules of color.

Not Impertinent Designs

Of even square division

There be a number drafts, wrought by this
even direct square, which is most perfect of
any. To set this work right, you must begin
your first losing, at the figure 4, and so run out
in any quantity you will as this division will
show you. The perfect and full draft here of,
as it must stand in glass-work, you shall find
in folio 43 with sundry other drafts of the
same measure as in folio 40 and in other
places.

Cf ftm Jfure dtti/un,

T here be a numberof diaughis, wrought by this even dired
fquare, which is molt perted of any; to fee this worlte right,
ye mult begin your firft lofing, at the figure 4. and fo ruune out in
any quantity you will, as this devifion will (hew you: the perfed,
and lull draught hereof, as it mud (land in glafie-worke.y ou fliall
iinde in fol: 43. withfundry other draughts of the (rune meaHire,
as iu fol: 40* and in other places.

Not Impertinent Designs

Of even cross division

This shows a plain draft with a double circle, and
even over cross measure, beginning its set at the
figure 7. This whole perfect draft, as it is to be
wrought in glass, you shall find in folio 72, with
sundry other drafts also of the same division, as in
folio 77-78, 80, 92, and others.

CfevmtTtffedtvi/tM.

T his (hcwcth a plaine draught with a double drcle, and even
over crofTc roeafurc, bcgiuniug his fett at the figure 7. Tin’s
whole perf«a draught, as iris to be wrought in glaffe, you (hali

findcin fohyi. with fundry other draughts allb of the tame devi-

fion, as in fol: 77- 78.79- 80,81.81^ and others.

Not Impertinent Designs

Of compass works or draughts.

These draughts following, with their
division, are differing from the others. Some
there be of single compass draught, others
double. Some be square & compass declined
cross draughts and even cross with withall
interlaced

First then this sincle circle of this division, as
you see here set down, is a very fine draught
in glass-work & the setting therof must begin
at the figure 6. And the whole draught as it
must show in glass-work you shall find in
folio 74. And in sundry other drafts of the like
division, as in folio 87 [are] very easy to be
wrought, making exceeding pleasant work.

Of interlaced division.

This interlaced division yeilds very pleasant
draughts, exceeding close & strong. The
setting of this work on its division must begin
at the figure 5 and from there to follow out to
the full quanity that your glass-work requires.
The prinicipal draught hereof you shall find in
folio 47 with sundry other of the same
measure as in folio 12, 27, 32.

Some other square draughts are here set
down of greater difficulty but as they are
somewhat more painful in working, so are
they more pleasant & will make a delectable
show. Which works must have its right
division, on the glass table drawn with black
which will conduct the setting perfectly,
making the most curious draught in this book
easy & plain to be wrought in glass.

Not Impertinent Designs

Of declining draughts

This interlaced double circle with declining
cross division must begin its setting at the
figure 8 and has whole draught stands in foil:
86. And also others fo the same division with
double circle as in folio 83, 82, 76 & other
places as may be perceived.

CftJtcUmnger^Jrtui^.

T his Interlaced double circle.wiih double declining crolTe de*
vifion, mud begin his fettin& at the fi^eg. andhiswhole
draught itandechin IqI: 8(. and sillb others of chelatne devifion,
with double circle^ as in fob 83.8a. 8o< 76. Si other places as ta»j
be perceiued.

Not Impertinent Designs

Interlaced cross draughts

This as you pererceive is even cross and
declining draught intermixed, exceeding
pleasant in glass-work. The beginning of
setting of your work is at the figure 9 & the
prinicpal whole draught is to be found in folio
71. As also a great many more of the same
division in diverse other places

Other sorts there be of these circle works of
greater difficulty, but the division thereof on
your glass table must be your help to make it
easy as is before metioned in the square
draughts.

btaUnd

T his asyoupcrcetucuevencroiFe and decliningin-
termized, exceeding plcalant in gUfie-worke: hbbe^ning
offettingof yourwerke u at the figure y. Setheptindpall whole
draught is to be found in fol: 71. asalfoa great many tnoe of the
lame devifion, in divers other places.

O ther forts diere be of thele circle wotkes, of greater ditficul-
ty, but the deviflon thereof on thy glalTe table, multbethy
hclpe to make it etfy, as is befote metionMin the lipiare draughts

Not Impertinent Designs

The following information is provided for historical purposes only.

These techniques and recipes do not comply with current health and safety advice
_ and may not be efficient, cost effective, or safe for use. _

Howe to Anneile, or
Paint in Glas:

t BE true receftes <fihc cuIUsf
lie order 'mp of the Furnace , and

THE TRVE FORME, OFTH
Furnace, for the Annexing in Glalse, withall
theInjlrumentibelongtngthemnto

The true form of the furnace
for annealing in glass,
with all the instruments belonging
thereunto.

Not Impertinent Designs

The following information is provided for historical purposes only.

These techniques and recipes do not comply with current health and safety advice

_ and may not be efficient, cost effective, or safe for use. _

The manner how to erect the
furnace.

Take free-stone or brick and proportion it
four foot square and three foot high and two
foot and half in each square. And at either
corner, which is marked with the letter A,
leave an open hole to let out the smoke when
need shall require. Which holes you shall
cover with pieces of brick-bats. And in the
middle of the top of the furnace a round hole
made, four inches over as you see it marked
with letter B, which hole you must always
keep covered with a turf or charcoal & renew
it so often as the fires does consume it away.
And note that this hole does serve to give vent
to the smoke and to keep in the heat, for this
hole is right over the mouth of the pan where
the glass lies.

This pan, marked with the letter C, must be
made of fine clay, fit to endure the fire and
placed on an iron trivet in the the middle of
the furnace, so that the fire may have place to
give heat, both under and above the pan.

This pan, wherein the glass is put, must have
an open square in the side five inches high
and three inches broad, as you see marked
with the letter S, and the like open place must
be made in the side of the furnace, right
opposite to the square of the side of the pan
where the pieces of glass do lie, called the
proof pieces, which pieces are to be taken in
& out at your pleasure, whereby you may
know when your wrought glass is thoroughly
enameled and of a fair color.

Hnttu AtmaUinGUp,

THEMANNER. HOWE
toereft the Fomace.

A K E frcc-ftonc, or Bricke, and proportion
it fowcr footc iquiure, and three Foote high and
two Foote and halfc in cache fqaarc: And at ci-

_thcr corner which is maiked with the letter A.

Icanc an open hole, to let outc the fmoake, when neede
(hall require: which holes you (hall cover, wichpeecesof
brickc-bats. And in the midlc ofthc toppe of the Pomace,
around hole made, Fowcr inches over as ye frcit markt with
letter B. which hole you muft alwayes keepe coverd with a
turffe or Charco]e,6c renew itfo o^n as tnefire doth con*
fume it away: And note that this hole doth feme to giue
vent to the fmoake, and to keepe in theheate: for this hole
is right over the mouth of the Pan where the licth.

This Pan, marked with the letter muft be made of
fine clay, fit to indure the fire and placed on an Iron trevet^
in the middeft of the Fomace, fo that the fire may haue
place to giue heat, both vnder and abouc the pan.

This Pan wherein the glas is pat, muft luucanopeo
fquare in the fide, hue inches high, and three inches broad,
as you fee rnarked with the lener D. and the like open place
muft be made in the fide oFthe fomace, right oppofitc to
the<

6 ^

Vihen your wroug^ gl
a£ure coulloujr

you^r^cab

whereby you may I
tborowly enameled, and of

Not Impertinent Designs

The following information is provided for historical purposes only.

These techniques and recipes do not comply with current health and safety advice
_ and may not be efficient, cost effective, or safe for use. _

How you ought to prepare and put your
glass into the furnace

Take chalk that is clean and beat it mall in a
mortar or else grind it well on a painters stone.

Then sprinkle some of it in the bottom of the pan
before the fire be put in the furnace. Then lay a
ply or pane of glass that is wrought thereon, then
sift on more chalk and then lay another tire or
pane of glass. So by beds of chalk & glass, you
may lay on as much prepared glass as the pan will
hold one row above another, but remember that
between every row you do sift on chalk, that the
wrought glass may not touch one another. Then
take little pieces of glass and touch the same
color that your wrought glass is of & put them in
at the passage at the side of the furnace, betwixt
the beds of wrought glass & then begin to make
a reasonable fire under and about the pan until
you think that the glass has taken a fire color.

Now to know when you glass is perfectly
ready, take a pair of tongs and draw out one of
those little pieces of glass, called the proof
piece, and hold it between you and the light. If
the color show fair and sticks safe upon the glass, then you may be sure that work under is
well and perfectly annealed because it has the greatest strength of the fire. But if you doubt
that the colors be not sure, then rub with a rough stone or knife, one of the proof pieces, and
then if the color come off, then you must let it continue in the
fire while you put the next piece to the proof. Note further that
the proof hole in the side of the furnace, marked with the letter
D, must have a stone that will abide the fire fitted to it, such a
one as see marked with the letter F, which stone serves to take
off and put on so often as you make trial of the proof pieces.

Also you must have an earthen pot, such as you see marked
with the letter E, wherein you must have a readiness some sort
of clay to fasten the stone again, so often as you shall have
occasion to remove it. But the hole in the top of the furnace you
must not stop with clay, but only with pieces of brick bats so
that smoke may have vent out.

M»mu AMuUtig CltOt .

ought to prepare and put y our ^las into

tbeFmrmice,

TAKE Chalkc thic is clcanc ^ and bcarc it fmall in a Mortfr, or
die grind it wdl on a painteai^one: then fprinkie romcofit in the
bottomrof the Pan, before the firc be put in the Furnace .• then lay a
plye,or lainc ofglafte that is wrought therco, the fift on more chalk
and then laye another tyre, or laine of glafse. So by beds of chalkc
& glafse, you may lay on as much prepared gUs as the Pan will hold
one rcwcaboue another, but remeber that betwene every rewe of
giaSc you do fifte on chalkc, that the wrought glafs may not couch
one another. Then takelitle peeces of glafse, and touche the with
thefamc coufloui that your wrought glafse is of, & put them in a t
the paiTag, at the fide of the F umace, betwixt the beds of wrought
glaise, & then begin to make a reafonable fire vndcr and aboute the
Pan vntill you thinke, that the glaise hath taken a ^ire couUour.

Now to knowc when your glas is peifedly ready 5 take a paire of
tonges, anddiawcouteoneof thofe little peeces of glafic, called
thcprooffcpcecc, and hold it betwextyou and the light: if the
cuUor (howc fiure and ftick fail vppon the glaiTe, then you may
furc that the workevnder is well and pcrfeajy anneiled. beCaufdt
hath had the greateft ftrength of the fire: But ifyowdoube that the
cuUours be not furc, then rubbe with a rough (tone ora knife, one *
of the proofc peeces, and then if the cullor come of, then you nauft
let it continew longer in the fire, while you put the next peece to
theproofe. Nocefurthcr that the proofe hole in thefidcofihe
Furnace, marked with the letter D . muft hauc a fione that will
abide the fire fitted to it, fuch a one as you fee marked with thclct-
ter F. which ftone ferveth to takcof, and put on fo often as you
make triall of the proofe peeces.

AKbyovmuft hauc an earthen por/uch as ye fee marked with
the letter £. wherein you muft hatiea readlnes (bmeibft day to
feften the (tone againe, fo often as you (hall hauc occafion to re.
mouc it^ But the holes in thetoppe of the furnace you muft
ftoppe with clay, but only with peeces of brick bats fo that the
finoake may hauc vciTCX>ute.

Not Impertinent Designs

The following information is provided for historical purposes only.

These techniques and recipes do not comply with current health and safety advice
and may not be efflcient, cost effective, or safe for use.

THE RECEIPETS, FOR THE

true making of CoUours ibr Gla/se .

Toma/(e aftureSUcI^ .

TAKE cheScalcsoflron&CoimeTtofeachalikc waizhtf
Scputicinadeanevdlcll chat will todure die Ere«tillcney
be red boctc.chen take halEe as much Icate, and ftamp them
into fmal poudcr, then mix them vrich Gumwaier, & grind
tliem hue vpon a painters done and (bdrawe withtc vpon
your glaflc.

To maJ^ a (jreene couRour.

TAKE VcTtegreafc* and grind it vctywcll with Torpeo*
nne then put it in a cicane pot» and WDcoyou would vie it
warmeitattbe 6rc.

To dfairt red.

TAKE Sanguis draconis andbeateicwcD m.a Morter^dt
after draine it thorough a Unmng doth, witbaliule Atjuavi-
tie,andibv^cit•

Carnation.

TAKE two ouccs of Tyn-glas, and fiat ovDces.oflcat, half
23fiowQc ofgurrw, ten ounces ot red Ockcli andgdnd them
very well iogcadici,aiKlibviek.

The recipes for the true making of
colors for glass.

To make a fair black.

Take the scales of iron & copper, of each a like
weight, & put it in a clean vessel that will
endure the fire, till they be red hot, then take
half as much ieate and stamp them into small
powder, then mix them with gumwater, &
grind them fine upon a painters stone to so
draw with it upon your glass.

To make a green color.

Take verdigris and grind it very well with
turpentine then put it in a clean pot and when
you would use it, warm it at the fire.

To make a fair red.

How to make a fair red.

Take sanguis draconis and beat it well in a
mortar & and after strain it through a linen
cloth with a little aquavit and so use it.

Carnation

Take two ounces of tin-glass and six ounces
ieate, half ounce of gum, ten ounces of red
ocher and grind them very well together and so
use it.

Not Impertinent Designs

The following information is provided for historical purposes only.

These techniques and recipes do not comply with current health and safety advice

_ and may not be efficient, cost effective, or safe for use. _

Blue.

Take beads of glue glass and beat then into powder in
a brazen mortar, and half as much goldsmiths’ blue
amaling that shines through & grind them together
with gumwater and so use it.

Yellow.

Take a quantity of fine silver and it into small pieces
and put them in a little antimuonium beaten to powder
and put them together in a melting pot and set them
on the fire well covered round about with hot ember
the space of an hour, them take them from the fire and
pour it into the bottom of a lean earthen vessel that
will abide the heat thereof. After it is cold beat it into
fine powder and grind it on a painters stone and when
it well ground take six times as much ocher as the
silver weights and seven times as much old that has
been scraped off from enameled work. After that, let
it be well ground, then put all this together in a pot
with gumwater and stir it well about and so use it.

To make a grey color.

Take iron scales, a little crystal, and some small
quantity of ieate, grind these well together upon a
painters stone. The more ieate you take, the sadder
the color will be & likewise the more crystal you put
it the lighter

To diaper upon glass.

Take crystal, beaten to powder, and grind it well upon
a painters stone with gumwater and so use it. It will
appear a pretty light color, different from the glass.
Keep this color in a little and when you will use it,
stir it well about.

Another fair red color.

To^iapertpim glas.

TAKE Criftdl, bciten tp podder, and grind it well vppori
tp&intcrs ilonc with Gumwater, and fo vfe it : k will apeare
a premc Hghc coullout, diHerent from the G;las: Kcepe this
couDourtn alittlePooe, and when you wulvfe ic» Aiireit
well aboute.

Another faire redCuUour.

T AKB a quatitie of red glaf^ beades, and halfe as much
ofGoldfrnidies rcd£nam^g,aud prepare it as you did
the blew coullour before.

TAKE beades of Uew glas, and beat them into poolder,
in a brafen mocter, and baJfe as much of goldfrnithes blew
amaHngthacfbioes through, & grind them together with
gom^watei, vfeit.

YeHow.

TAKfraquanfrtieoffinefnver.aDdcutitin finale peeces
and put chei coja Uale Antimooium beaten to pouldcr, and
pacmemto-gcatherioameliing-pot. and frt them on the
nre well covered round about with hotte embers die fpace
ofan hower,theocakeitfromthe6re,andpoureitinto the
bottom of a cleane earthen vefleil that will abide the beate
thereof: afrer it is cold beat it into hne poulder, and grind it
onaPainterslhme, and when it is wdl ground , take fixe
times as much Ockcr as the Silverweigbes, and feven times
as much old eaiththathathbinfbapedofF fromeoanuled
workc; after char, let it he well ground, then put all this
together in apot gume-water ,and(hrre it well aboute
andfovfcit

Tomak^a (^rej couUer .

TAKE Ironfrales,alicdeCiifralhand^im-fmaleqnantitie
of Ieate,grind thefc well together vpon a painters ftone, the
more Ieate ye cake, the (adder the coullour will be, &like*
wife the morechrifblLyou put to ir die lighter.

Take a quantity of red glass beads and half as much
goldsmith red enameling and prepare it as you did the
blue color before.

Not Impertinent Designs

Reprint Introductions

1848 Introduction by Henry Shaw

The present work is almost wholly eopied from a small volume entitled, A book of sundry
Draughtes Principally serving for Glaziers and not impertinent for Plasterers and Gardeners; besides
many other professions: whereunto is annexed the manner to anneal in Glass. And also the true forme of
the Furnace and the secretes thereof. London: Printed in Shoolane at the sign of the Faleon By Walter
Dight, 1615.1 have eonsidered it unneeessary to reprint “the manner how to anneal in Glass” as it has
been superseded by more reeent improvements, and there “the secretes thereof’ are no longer of practical
value.

Few persons, I believe, can examine the Series of Designs without being satisfied that they form not
only a treasury of working Drawing for the use of Glaziers, but are far from being “impertinent for
Plasterers, Gardiners, and sundry other Professions.”

The immense variety of the forms given, and the great beauty of the arrangement of many of them,
can scarcely fail of making this little Volume a most useful Work of reference to all person engaged in the
production of objects to which Art can be applied. They will not only furnish hints, but in many instances
may be made to form the Skeletons of new designs, requiring only to be filled in with the ornaments, or
Colors, most suitable to the particular article, or manufacture to which are to be applied.

The following remarks by the Author (Walter Gidde) may be considered a sufficient apology for the
introduction of some examples of so simple a character as to appear first sight unnecessary.

“As the principal beauty and countenance of Architecture consists of outward ornament of lights, so
the inward parts are ever opposite to the eyes of the beholder, taking more delight in the beauty thereof,
being cunning wrought, than in any other garnishing within the frame. To which purpose is set down in
this variety of droughts some ordinary and plane, others curious and pleasant; and although it may see to
those expert in Glazing that these draughts are needless, being so plane and in sue, not deserving in this
sort to be published, yet not withstanding here I do in friendly courtesy admonish, that it is most needful,
giving choice to the Builder, both for prince and draught of work, which by no understand can the Glazier
so sensibly demonstrate his feat by having his Examples of Draught, for by such show the Builder shall
understand what to make choice of, for whose care and furtherance only. I have published this notice of
glazing, knowing the expert Master is not unfurnished of these usual Draughts, though each Workman
have not all of them.”

I have added to the Series a few designs kindly lent to me by my Friend Mr Willement, and also some
Examples of Window Eastenings, Stanchions, &c. from old Authorities.

1898 Publisher’s Introduction (The Leadenhall Press, LTD)

This quaint old treasury of decorated drawings for leaded glass (the text book on the subject) has
not hitherto been reproduced in facsimile.

An original copy of the book (published in 1615) is worth its weight in gold, and is now almost
impossible to procure. The British Museum is without one. The volume from which this reproduction is
faithfully facsimiled came from the celebrated library of the Earl of Ashbumham, recently dispersed at
Messrs. Sotheby’s sale-rooms.

The author describes his work as “not Impertinent” for “sundry professions.” He might, perhaps,
not Impertinently have included people of taste and culture.

Some of the earlier plates are apparently not consecutive, but. as they are all there and accord
with the text, it seemed unwise to disturb the author’s arrangement.

Not Impertinent Designs

FINIS

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